text:
Q: Missing UITableView after swapping in a UINavigationController I've been working on a simple iPhone app for a couple of days now, and haven't been able to wrap my head around quite a bit of the interface.  Specifically, I've got a main menu view with an ImageView and a couple of buttons that will eventually swap out to other views.
In addition to the main menu, I've got a UIViewController subclass called Browse_Phone (it's a Universal app), and it contains a UITableView called tableView.  It'll eventually be hooked up to a database, but for now, the contents of the table are hard-coded.  The following is the table delegate code in Browse_Phone.m (most of this code is borrowed from online examples):
- (NSInteger)numberOfSectionsInTableView:(UITableView *)tableView
{
    return 1;
}

- (NSInteger)tableView:(UITableView *)tableView numberOfRowsInSection:(NSInteger)section
{
    return 5;
}

- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
    static NSString *CellIdentifier = @"Cell";

    UITableViewCell *cell = [self.tableView dequeueReusableCellWithIdentifier:CellIdentifier];
    if (cell == nil) {
        cell = [[[UITableViewCell alloc] initWithFrame:CGRectZero reuseIdentifier:CellIdentifier] autorelease];
    }

    NSString *szCell = [[NSString alloc] initWithFormat: @"Row %i", indexPath.row ];

    cell.textLabel.text = szCell;

    [szCell release];

    // Set up the cell
    return cell;
}

// The designated initializer.  Override if you create the controller programmatically and want to perform customization that is not appropriate for viewDidLoad.
- (id)initWithNibName:(NSString *)nibNameOrNil bundle:(NSBundle *)nibBundleOrNil
{
    if (self = [super initWithNibName:nibNameOrNil bundle:nibBundleOrNil])
    {
        self.title = @"Browse";
        tableView = [[UITableView alloc] initWithFrame:[[UIScreen mainScreen] bounds]];
        tableView.delegate = self;
        tableView.dataSource = self;
        self.view = tableView;
    }
    return self;
}

Finally, in the main window, there's a button to swap out the main menu view with a navigation controller that uses a Browse_Phone controller as its RootViewController (note that [sender superview] is the main menu view):
- (IBAction)loadBrowse:(id)sender
{
    Browse_Phone *browsePhone = [[[Browse_Phone alloc] initWithNibName:nil bundle:nil] autorelease];
    if(browsePhone.view)
    {
        UINavigationController *navController = [[[UINavigationController alloc] initWithRootViewController:browsePhone] autorelease];
        CGContextRef context = UIGraphicsGetCurrentContext();
        [UIView beginAnimations:nil context:context];
        [UIView setAnimationCurve:UIViewAnimationCurveEaseInOut];
        [UIView setAnimationDuration:0.5];
        [UIView setAnimationTransition:UIViewAnimationTransitionFlipFromRight forView:window cache:YES];

        [[sender superview] removeFromSuperview];
        [window addSubview:navController.view];

        [UIView commitAnimations];
    }
}

When I press the button, the view swap seems to work.  The flip occurs as expected, and the navigation control is loaded, but the table is nowhere to be found.  I know the Browse_Phone controller is being instantiated, because the navigation bar's title reflects that of the table.  When I used this code in a simple app that just loaded the controllers in the app delegate's didFinishLaunchingWithOptions, it worked just fine.  Of course, I know the problem is going to be something simple that I've missed.
Thanks in Advance,
Ryan

A: It's your initWithNibName:bundle: method.
loadView gets called after initWithNibName:bundle: and overrides your view. You should load your view in loadView, or better yet, subclass UITableViewController (instead of UIViewController) and let it do everything for you.

A: All right, I think I understand the problem; it looks like somewhere during the creation and initialization of the view controllers, they're being set to autorelease, so when I explicitly set them to autorelease, they wind up being released one too many times.  So before the table gets a chance to render, the controller's retain count drops to 0 and it gets dumped.  Removing the autorelease from each controller's initialization in loadBrowse fixes the problem.  I can't say I understand why the app doesn't just crash outright, but the problem appears to be solved for the time being.

redpajama_set_name: RedPajamaStackExchange


KRUA is an award-winning, Non-Commercial Educational Radio Station based out of the University of Alaska Anchorage. National Arbitron research has shown that our listeners tend to keep listening for longer periods of time than they do with other radio stations. Listeners also tend to be younger. This can be attributed to KRUA's diverse choices in music and programming; whereas commercial stations tend to play the same select programming over and over again and focus on an older audience.
As the college radio station of Anchorage, students tune in to KRUA each day to hear about new and exciting opportunities on their campus. From our main studios on UAA campus, to our transmitter in Eagle River, our radio station reaches a significant portion of Alaska's South Central region. Sponsors associated with KRUA are exposed to a large and diverse listener-ship that spans South-central Alaska and now, with online streaming, around the United States and the World, allowing your business to be more accessible to more people at any given time.
KRUA has a small core group of student staff and a large collection of UAA and Anchorage community volunteers. Since 1992, KRUA has provided the UAA and Anchorage community with not only great music and shows, but also the opportunity to gain skills in radio broadcasting and a unique creative outlet.
KRUA is funded by the students at UAA. If a student is enrolled in 3 or more credits, they pay an $11 media fee. These fees are split between KRUA and our sister organization, The Northern Light student newspaper. Because we are funded by student fees, we work hard to ensure that we are meeting the needs of students and paying attention to student interests.
KRUA began transmitting in the spring of 1987. It was known then not as KRUA, but as KMPS. During this time, they borrowed a small transmitter from Augie Hiebert of Northern Television, Inc. The station worked on a small budget, receiving only $1.50 per student through a student fee.
KMPS was a carrier current station. The signal traveled through telephone lines and could only be heard in specifically targeted places. In this case, KMPS could only be heard in student housing and the campus center. The schedule was sporadic and depended on the school schedules of volunteer DJ's. The station tried to air from noon to 5 p.m., Monday through Friday, but occasionally missed an hour or two.
During the school year of 1989-90, actual proceedings began to create an FM station at UAA. After meetings with the University of Alaska Anchorage journalism and public communications department, local FCC offices, and the Anchorage Associated Broadcasters, Inc., documentation to create a non-commercial, educational station began.
In 1991, KMPS received the approval to move forward with the construction of a tower site for the young station, and 88.1-megahertz was assigned as its frequency. A referendum to increase student fees to $5.25 per student passed by a landslide: this allowed the station to move towards FM status.
On February 14, 1992, at approximately 5 p.m., KRUA's faint signal was suddenly being heard on the Hillside, in Turnagain and around the Anchorage area. REM's "It's the End of the World as We Know It" was the first song Anchorage listeners heard from KRUA. In 2017, KRUA celebrated 25 years of FM broadcasts by hosting a free show with local acts I Like Robots, DJ Spencer Lee, and Lavoy.
As KRUA continues to evolve, one element is constant: KRUA volunteers. Our volunteers continue to make KRUA a great station to listen to, and an excellent place to work and learn. Thank you!


STUNNING! Silver cast sculpture with gold plating! Order today!
A wolf's howl is an intrinsic part of nature's soundtrack in Canada's forest and tundra landscapes. This distinctive call can be a rallying cry to pack members, just as it can deliver a warning to rivals who dare enter its territory; but to human ears, the haunting chorus only adds to the lonesome mystique of the wild canine, which is featured on the sculpted reverse of this fine silver coin.
FIFTH AND FINAL COIN IN SERIES! The wolf is the fifth and final coin in the Sculpture of Majestic Canadian Animals series, which depicts animals in a uniquely multi-dimensional approach.
AN OUTSTANDING ROYAL CANADIAN MINT COIN! Your coin's large diameter (65 mm) provides the perfect pedestal for the gold-plated silver wolf-shaped embellishment emerging from the coin!
INNOVATIVE ARTISTRY AND CRAFTSMANSHIP! A testament to the Royal Canadian Mint's spirit of innovative artistry and craftsmanship, the silver statuette is uniquely shaped to recreate the wolf's most distinctive features.
10 OZ. PURE SILVER! Your coin is crafted from 99.9% pure silver with gold plating.
Designed by big game sculptor Karl Lansing, your coin features a three-dimensional depiction of a species whose cry is synonymous with the remote beauty of Canada's wilderness. Shaped like a grey wolf (Canis lupus), the silver-cast statue rises up from the coin's surface to convey the wild canine's strength as it steps across the varied terrain. The gold plating enhances the carefully sculptured details that give the statuette a life-like quality, including the varying texture of the fur and the famously strong jaw that is lifted towards the sky to release that iconic howl. The obverse features the effigy of Her Majesty Queen Elizabeth II by Susanna Blunt.
I opened the box from the mint and saw a very beautiful coin. It is one of a kind, and very high quality. It has no flaws.
From bad to worse to the worst. I subscribed for this sculpture series. The first one-bear- was good, the second one was damaged, the third one was broken and this wolf is terrible. The wolf is very small and not balanced. The sculpture is detached from the coin base, The plastic dome is broken and exposed the cheap hard glue the ROYAL CANADIAN MINT uses, which is worse than the glue I bought at my local one-dollar store. Because of the ordeals during the previous exchanges, I decided to use it as paperweight. But the loose wolf makes the rattling sound against the broken case, it not good even for the paperweight purpose. More than five thousand dollars end up in the garbage. The Royal Canadian Mint just never learns the lesson.
This is a beautiful coin and am really glad I got it. It certainly is different and depicts the wolf well. I really can appreciate the artistry and ingenuity that went into this coin.


Some of my friends joke with me and say that I change my hairstyle more often than I change my shirt. Perhaps there is a grain of truth here, though greatly exaggerated, but it is true I am in hair salons a lot for work. In fact one of my clients is an internationally renowned for their hair coloring skills and have even competed internationally having been named by Goodwill corporation as the best in Japan. The salons go by the name Coge and are located about 40 minutes outside Tokyo. The quality of work this salon produces is perhaps something you might expect in Harajuku but often the best things are a bit out of the way and hard to find. Anyhow these are the images that were submitted to the 2016 competition. I used a lot of gels in this shoot which is something I sort of got addicted to back in college 20 years back. For the competition, 40% is judged on image quality a lone and the rest on execution of hair color and cut.
One of the most difficult things with regards to doing hair competitions in Japan is finding someone willing or able to have their hair cut and dyed. None of the people you see here are professional models but rather students and coworkers at the salon. Hence the people seen here were not totally comfortable with being in front of a camera so it took some time to relax some of the people. Nonetheless considering the difficulties, I think they all did well. In the end Coge did end up placing in the top 10 domestically but fell just a bit short with regards to meeting the theme of the project. Better luck in 2017!


Zucchini and I have a complicated relationship. Coconut Zucchini Muffins are my coping mechanism.
With zucchini, July is all romance. It's been ages since we've been together, we can't get enough of each other, and sappy violin music follows us everywhere we go. I'm in summer produce heaven.
By August, zucchini gets clingy. It moves from occupying a small corner of my crisper to sprawling lawlessly all over the bottom shelf of my refrigerator and out onto the counter. What was once a good thing (the occasional summer veggie burrito or zucchini waffle) deteriorates into total squash mutiny, and I find myself struggling to find creative ways to deplete my supply.
Coconut Zucchini Muffins are my new favorite way to eat up superfluous zucchini. For the most part, zucchini acts as a blank canvas in baked goods, and tropical, happy coconut is a perfect partner. These babies boast a coconut triple threat: healthy coconut oil for mega moisture, shredded coconut in the batter for natural sweetness, and toasted coconut on top for texture and crunch.
A single batch of 12 Coconut Zucchini Muffins uses two full cups of shredded zucchini. We're eating our veggies and putting a dent in the zucchini supply. High five!
I also recently read that the coconut oil in this recipe is good for my hair. (Hello, I'm having seconds!) Applesauce provides even more healthy moisture, and whole-wheat flour adds fiber. This kind of good behavior is both a wonderful way to begin our morning and demands oodles of drippy glaze. Be generous.
Today, August 8th, is National Zucchini Day, and I'm celebrating with my lovely friend Marnely of the blog Cooking with Books. (You may remember Marnely from this tasty recipe for Sriracha Crab Salad Rolls.) The two of us met through blogging, then spent time together when Ben and I visited Cape Cod, where Marnely lives and works as a professional chef on Martha's Vineyard. Marnely is absolute doll and, at the moment, is working crazy hours to keep up with Martha's Vineyard's busy tourism season, including prepping for President Obama's visit to the Vineyard (!). While she's in the kitchen, I'm posting on her site, so if you have some time, head on over and leave her some love.
Happy National Zucchini Day! Embrace the overload with Coconut Zucchini Muffins. Maybe I'll survive this relationship after all.
Healthy coconut zucchini muffins made with coconut oil, toasted coconut and whole wheat flour. Super moist and a perfect way to use up summer zucchini!
Place rack in upper third of oven and preheat the oven to 350°F. Lightly grease a standard 12-cup muffin pan.
In a large bowl, stir together the white whole wheat flour, all purpose flour, salt, baking soda, baking powder, and cinnamon. In a medium bowl or large mixing cup, whisk together the eggs, honey, brown sugar, coconut oil, and vanilla until well blended. Add all at once to the dry ingredients, stirring by hand just until combined. The mixture may be a little lumpy. Fold in the zucchini and coconut.
Scoop the batter into the prepared muffin pan. Bake for 20 to 24 minutes, or until a toothpick inserted into the center comes out clean. Remove from the oven, cool in the pan for 10 minutes, then transfer to a wire rack to cool completely.
Meanwhile, prepare the glaze: Stir together the powdered sugar and salt, then whisk in almond extract and the milk, 1 tablespoon at a time, until the desired consistency is reached. Dunk the top of each muffin into the glaze, then sprinkle with toasted coconut.
Zucchini is needy. Because there's too much of it, and summer fruit is sexier.
This recipe is awesome, though! It'll get rid of that excess so deliciously.
Ha! I hate needy veggies! This is the perfect solution!
Just what I need to mix up my zucchini baking routine! These sound great!
Erin, love these muffins!! I'm going to bake a cake or something with my zucchini too. . love the addition of the coconut! heading over to get the recipe now! See you tuesday!
I love cooking with coconut oil! I still have never baked with zucchini though. I clearly need to change this!
I can be the same way about zucchini and have yet to make a zucchini muff this season, so your recipe is looking mighty fine! Yup, coconut oil is thebombdotcom! And it's woooonderful for your skin and hair. I know some people actually put it on their scalp or add it to their conditioner, which is something I've been meaning to try. Have a great weekend, my dear!
I actually love zucchini in dessert and snack recipes! Maybe it's because I love the stuff. who knows. Must try!
Well it does look like you worked this life complication quite satisfactorily to the benefit of all. I am a coconut nut and zucchini makes everything so moist. So its a winning combo as far as I am concerned.
Thanks so much Carol! I'm glad you approve.
Coconut + zucchini + carbs = this all needs to get in my belly.
ha! totally get ya on zucchini. love the tropical twist on these zucchini muffins.
Zucchini + coconut = Yum! These muffins looks scrumptious–I want one right now.
You're right, zucchini needs to know its limits. But these muffins? Beautiful way to keep the relationship going strong!
I love the flavor combination of coconut and zucchini. Also, rolling them just makes it nicer than a muffin!
I'm having the exact same relationship problems with my zucchini at the moment. LOL. But that's definitely not gonna stop me from trying these GORGEOUS muffins. Did I mention I'm in love with that lovely glaze?! ;) Pinned.
Jealous that you got to meet her, I've been a fan of her blog for a while!
haha I hear ya – I'm always trying to cram zucchini into everything this time of the season!! Zucchini and coconut?? Sounds awesome!
Coconut makes everything better and these muffins look fantastic!
What… there is seriously a National zucchini day?! Thats brilliant. Very neat twist with this recipe Erin, cant say Ive ever tried, but reckon I need too.
It is real and it is squashed-filled Anna! And this recipe is definitely worth a shot. If you like coconut, you'd adore these!
A fantastic use of summer squashes. These muffins look awesome, Erin.
Aw these are really sweet! Love the glaze on top!
For the glaze, you have 2-3 tablespoons and then its blank, I'm guessing you want to add powdered sugar to that, yes??
Ron, I am so sorry about that! It should be 1 cup powdered sugar and 2-3 tablespoons milk. I've updated the recipe. Thanks for pointing that out!
I made these yesterday, used coconut extract instead of vanilla, and skipped the glaze. You don't need it for these to be wonderful! A really yummy not-too-sweet breakfast muffin! Thanks so much for sharing! I love your recipes.
Tina, I am so excited to hear this. The coconut extract sounds delicious. Thanks so much for your kind words and for taking time to leave this lovely review!
Erin, I can't have gluten. Can I substitute the flour in this recipe?
Hi Mallory! If you can't have gluten, I'd suggest trying this Chocolate Chip Paleo Zucchini Bread. The recipe is already gluten free! If you'd like to make these muffins, you could try substituting a gluten free baking blend like this one. I haven't tested the muffin recipe this way, so it would be an experiment on your part, but it is my best suggestion. Use your best judgement, and if you decide to play around with the recipe, I'd love to hear how it turns out!


text:
@Version("2.4.0")
package org.apache.jackrabbit.vault.fs;

import org.osgi.annotation.versioning.Version;

redpajama_set_name: RedPajamaGithub


Shop Spotlight – Mockys + A Giveaway!
Today I get to feature one of our favorite shops, MOCKYS! Scroll down for an awesome giveaway!
You may have seen us gush about the awesome baby moccasins they make, but now they are launching a line of nursery décor that is super fun. I recently got to see firsthand how cool these prints are.
Also, it's totally customizable. I chose the teepee with "EXPLORE" over it as sort of an inspirational piece, but it would also be really fun to include your child's name. Plus, you can choose from a bunch of different design options and colors.
I grabbed an 11×14 wooden frame (painted bright yellow) and left the glass out so the 3D tabs could be shown off in all their glory. It looks perfect on Will's bookshelf in his nursery. I think it goes great with his books, and the sweet little hot air balloon print I paired it with.
The package arrived and I was a little nervous it would be squished since the print has those 3D edges, but it looked pretty great right out of the package. A couple of the flaps were bent down slightly, but they straightened and fluffed up really well and you'd never know by looking at it now that it wasn't custom-created right here in our home.
How cool could these look hanging on the door to your big kid's room, or how sweet for a friend's baby shower gift! It was the perfect addition to this shelf. It's bold, fun, and large enough that it really stands out.
Now for the super fun part of this little shop spotlight—the giveaway! Mockys has agreed to give one of our readers a $15 shop credit, and everyone who clicks over from this post will get a special discount! CLICK HERE to shop using a special 20% discount code, exclusively for Motherhood Inspired readers!
Happy exploring (and shopping) and good luck in the giveaway! Enter using the rafflecopter below. Giveaway ends Wednesday, July 13th!!
I would get "Why, sometimes I've believed as many as six impossible things before breakfast." quote from Alice in wonderland.


I have a question for the readership.
Should we talk of Daylight Saving Time or Daylight Savings Time?
I have always thought "Daylight Saving" was the accepted form, for what seems an obvious reason, but increasingly I hear "Daylight Savings" creeping in, especially from Sherbrooke on "Quebec A.M."


text:
Queensland Democrats Senator calls for direct democracy
Sat, 2007-11-03 12:10 by admin
Originally posted on the Australian Democrats web site on 1 November 2007 Queensland Democrat Senator Andrew Bartlett used a visit to the Sunshine Coast to call for greater protections such as the public right to appeal against the lawfulness of decisions that directly affect them and to promote the Democrats' long-standing policies on direct democracy. "Federal electoral law now allows for plebiscites and the Democrats believe this recent development should be built on," Senator Bartlett said. "Canada, Italy, New Zealand, Switzerland, 27 US states, Venezuela and Poland all have versions of direct democracy. Australians should have similar rights. "Noosa is one of the areas most fiercely resisting forced local government amalgamations. The biggest travesty of this process is not just that the affected communities are being denied a direct say in the amalgamations, contrary to previous government commitments, but that any right of legal appeal against the decisions of the Queensland Government or the Local Government Reform Commission is also being stopped. "This is a blatant denial of procedural and natural justice. "If a Commission recommendation for amalgamation is not relevantly evidenced-based, it should surely be open to appeal. "The Democrats used the Senate debate on Queensland Council amalgamations and plebiscites to try to get the federal government to put into place a guarantee of review processes where they are lacking in state or territory legislation. "Despite all their bluster about basic democratic rights, the Coalition opposed this. "Election times are a good time to remember that commitments and promises made by major parties can not be relied on. "At a state level, the Coalition parties are just as guilty of broken promises and denying people a say. "During the 1995 state election campaign, the National Party-led Coalition made an explicit commitment to hold a referendum on the re-introduction of an Upper House in Queensland. This pledge helped them attract crucial preferences that gave them the seats to gain government the following year but they broke that pledge. "If an Upper House had been in place in Queensland, the abysmal and undemocratic process surrounding local council amalgamations may well have been stopped, or at a minimum improved. Queensland is particularly vulnerable to and abuse of process and denial of freedoms due to the lack of an Upper House acting as a house of review. "Australian's need protections in place to minimise the chances of such a denial of basic rights an natural justice from occurring in the future," Senator Bartlett concluded. See also andrewbartlett.com, andrewbartlett.com/blog,
Australian Democrats
David Alan Couper (not verified)
Two steps further than Andrew
As an independent Senate candidate (Group N on this election's ticket), while I agree with Senator Bartlett's intentions, I think we as a society have the capacity to go two steps further: (a) to move Senate voting towards an electronic format, continuous in its capacity to be altered, powerful in generating a Senator's legislative mandate, and giving the electorate far greater control than what is available; and (b) move to end the role of State governments once and for all. The archaic remnants of a political system based in 19th Century thinking, states are now redundant in the face of a strong Federal system and the potential for local and regional councils to work together to form the most efficient and productive relationships possible. It is thus no wonder Beattie moved on amalgamation only now, considering the awfully tired feeling in the electorate at the last QLD State election - he sensed that the electorate is wearying of the ineptitude of State government (and opposition), and therefore felt it necessary to solidify power into his own hands, even if Bligh is now in charge (Beattie will still benefit in the coming years as a result of his achievements in QLD politics). It is utterly important that genuine independents like Cate Molloy at House of Reps level, and young candidates like myself at the Senate level, play a big part in setting Queensland up for a shift to true sustainability. The Greens have the heart in this area ecologically, but I am uncertain as to whether they have the necessary economic future vision to balance their overall political equations. The Democrats will never be a force anywhere other than at the Senate level (if that), which makes it difficult for them to communicate across the breadth of levels of government. The majors and conservative right minors are, or will be, of detriment if allowed to maintain or increase their powers. Independents, if good communicators and good listeners, will always be better in serving the electorate than parties will, and I hope everyone in Queensland can appreciate that thought even for a moment when they vote on the 24th. David Alan Couper Lead candidate, unendorsed, Group "N", QLD Senate ticket 2007.

redpajama_set_name: RedPajamaCommonCrawl


text:
Gwendolyn Bennett's "Song"
February 9, 2021 February 9, 2021 ~ Frank Hudson
Continuing in my celebration of Black History Month, I'm going to return to the 1925 anthology that is often thought of as the launching point of the Harlem Renaissance, The New Negro. This book's editor Alain Locke wanted to demonstrate the breadth of new expression by Afro-Americans in his time, and so concentrated on young and living artists for the most part. In traveling back to 1925 to visit this book, I have to readjust myself to the way Locke and his alternate presenters frames these young artists compared to how someone might do so today.
Each essay I've read so far in The New Negro is written in a careful and august style. Don't get me wrong, the style is not overly academic, and the introductory essays don't descend into esoteric terminology. It appears that Locke wanted this book to speak to any educated person, white or Black — and probably to non-American's too. But there's a focus on the fine arts and how Afro-American work may be measured favorably in those fields — and then some discomfort with the popular arts where Afro-Americans are also increasingly visible to white folks.
There are some complex reasons for that, more than today's post will have time to go into in any depth. The simplest heading for a large concern there is "minstrelsy," the long-standing and once highly popular American tactic of using Black characters to represent unvarnished and unrepentant foolish and clownish behavior,* extended often through the use of white actors or artists portraying Black characters. In the popular arts, some of the breakthrough "cross-over" artists of Locke's time were working off the grounds of this comic and derogatory white approximation of Blackness, giving them back a Black reflection of a racist white reflection of Blackness. Tough way to work!
Midway through I've come to the book's section on music, and in this case Locke himself leads off that section with an essay somewhat different from the main thrust of the book, a lengthy appreciation of "The Negro Spirituals," a folk music form with almost entirely anonymous composers that came to cultural attention in the 19th century, not in his modern 20th. Locke deftly deals with the dialect of those lyrics, and even at times concedes a judgement of simplicity on the music, countering by pointing out the — well — spiritual concerns, and the evident depth of feeling. He points out that European composers had long been drawing on that continent's folk music and orchestrating it for concert halls** and suggests the same may be a path for Spirituals going forward.
The next essay in the Music section of The New Negro does speak to a 20th century Afro-American form, one not yet considered a fine art: "Jazz At Home" by J. A. Rogers.*** Rogers has a lot to say in his essay, and for someone like me who many decades later became interested in Blues, Jazz and their descendant forms, it's interesting to see how one intelligent Afro-American in the middle of the emergent "Jazz Decade" of the 1920s viewed this music. Here's a few excerpts that will give you the flavor:
The Negroes who invented [Jazz] called their songs the 'Blues,' and they weren't capable of satire or deception….[Jazz] is a release of all the suppressed emotions at once, a blowing off of the lid, as it were. It is hilarity expressing itself through pandemonium; musical fireworks…..in idiom — rhythmic, musical and pantomimic — thoroughly American Negro; it is his spiritual picture on that lighter comedy side, just as the spirituals are the picture on the tragedy side. The two are poles apart, but the former is by no means to be despised and it is just as characteristically the product of the peculiar and unique experience of the Negro in this country.
Jazz, it is needless to say, will remain a recreation for the industrious and a dissipater of energy for the frivolous, a tonic for the strong and a poison for the weak. For the Negro himself, jazz is both more and less dangerous than for the white — less, in that he is nervously more in tune with it; more, in that at his average level of economic development his amusement life is more open to the forces of social vice….Yet in spite of its present vices and vulgarizations, its sex informalities, its morally anarchic spirit, jazz has a popular mission to perform. Joy, after all, has a physical basis. Those who laugh and dance and sing are better off even in their vices than those who do not…. It has come to stay, and they are wise, who instead of protesting against it, try to lift and divert it into nobler channels."
The "Um, actually…" annoying and opinionated pedant in me wants to correct him at times,**** which when you think about it, is presumptuous. I've got decades of scholarship and hindsight that I didn't have to do myself to prop me up. Rogers couldn't listen to Charlie Patton records anytime he wanted to in 1925, so if he thinks Blues was sorrowful and was "incapable of satire or deception" I can't bring him my evidence back to his time. And if he views Jazz in 1925 as merely happy-go-lucky, is he a reliable first-hand witness to his time and place that I'm not — or is he reflecting the types of Jazz that found the quickest acceptance by broader audiences including whites? Rogers lived long enough that it's possible he could have listened to "A Love Supreme" before he died, and if so he would have found there the spiritual jazz expression he predicted.
So here I am, some other kind of fool, writing this introduction to — what? — some introductory essays, because directly following Rogers essay in our 1925 book is today's piece, a poem by another writer who was totally unknown to me: Gwendolyn B. Bennett. She gives us an example of how poetry differs from the typical essay, and it's not hard to think that Locke consciously chose that position, because her poem extends his and Rogers' essays, giving us a set of words that are aware of the ideas they wrote about, but Bennett is telling sharply how those ideas feel.
Gwendolyn B. Bennett at the keys.
Bennett's poem, which she called just "Song" is too good to be overlooked, and so despite my current limitations with creating musical pieces I felt I had to present it. One choice I had to make in inhabiting it was just what was Bennett's overriding stance on the dialectic between Black musical expression — even sincerely joyful Black expression — within an ignorant majority white culture. As in Rogers' essay, Bennett's poem seems to be balancing, recognizing the salve of joyful music, and the grace of Black joy and art against Black sorrow. I cannot ask Bennett, but I decided this piece's performance needed to bring forward the white culture not quite grasping the Black performers' balancing act, keying off things like the compressed eloquence of lines like "Breaking heart/To the time of laughter/Clinking chains and minstrelsy/Are welded fast with melody."
In so doing maybe I bring a little white history to Black History Month. After all, it is presumptuous for a white guy to perform a Black woman's poem, but I can bring my experience of ignorance.
To hear Bennett's poetic summary of the dues Afro-American music owes to Black History, and my attempted illumination of what non-Black America owes to that art — however ignorantly — use the player below. Or if you don't see the player, this highlighted hyperlink will also play my performance. Want to see the poem's text? Here's a link to that
https://traffic.libsyn.com/secure/parlando/Bennetts_Song.mp3
*My cultural curiosity causes me to note that the trope of finding some outsider group to assign the most unalloyed foolishness to for what will be read by the insider group as humor is widespread. See the Rude Mechanicals in Shakespeare, dumb Polish/Irish/Scandinavian/Italian, etc. immigrant jokes, and hillbilly plays. Of course in America, the ways these ready-mades were employed using Black faces on top of the outrages of slavery was extraordinarily cruel.
**Locke also points out the historical link between Spirituals and educated culture in that many of the pioneering Black colleges had raised funds by touring Afro-American choirs presenting arrangements of these songs.
***Oh man, there is nowhere near enough time to discuss Rogers! He doesn't seem to have been a music writer, but is instead a self-educated and often self-published crusading polymath with an unquenchable interest in every unlit corner of Black history. His books helped inspire a young Henry Louis Gates Jr.
****This is one of my worst personal characteristics. Hopefully I keep it away from you dear reader. Rogers is so concerned with uplifting the race, that he seems to have internalized (from white critics?) a fear that Jazz and Jazz lovers are backwards and that their effects were achieved naively. And many of the most popular jazz records of the 20s were fast numbers that stressed novelty effects, like this one by "The Original Dixieland Jazz Band." White guys. Um, actually…
Posted in podcasts Afro-AmericanAlain LockeBlack History MonthbluesGwendolyn BennettHarlem Renaissancejazzmusicperformancepoetryspoken wordThe New Negro. J. A. Rogers
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Dave Moore says:
Nice thread you got going this month. Don't waste time with too much self-effacement — just bring it on home. Today's music was especially good & carried the poem's message like a treasure.
not bothering to look it up, but wasn't the first major sound movie just a couple years later? The Jazz Singer with Al Jolson in blackface. brrrrrrrr


text:
Q: How to conveniently define a list of named integer constants? I want to define constants, e.g. A = 10; B = 20, with these properties:

*

*'Normal' access: e.g. A.value + B.value == 30 (or even A + B == 30)

*Allow duplicate values: e.g. A = 10; B = 10

*Associated string for each variable: e.g. A.name == "A"

*Listing: e.g. [v.name for v in CONSTANTS]

*IDE support: auto-complete names, re-factorizations, etc.

*Adding a new constant requires one change

*Importable: e.g. from config import CONSTANTS
In the end, the property #6 is the problem. Something like
A = 10
B = 20

A_NAME = "A"
B_NAME = "B"

CONSTANTS = { A_NAME: A, B_NAME: B }

would basically be the solution. But I would like to avoid this verbose code (if possible).

This attempt comes very close:
import enum

class CONSTANTS(enum.IntEnum):
    A = 10
    B = 20

assert CONSTANTS.A + CONSTANTS.B == 30
assert CONSTANTS.A.name == "A"
assert CONSTANTS.__members__.keys() == ["A", "B"]
assert CONSTANTS.__members__.values() == [10, 20]

but fails when two constants have the same value (property #2). One could also define a sub-class of Enum with a constructor taking value. But again, A = 10; B = 10 would be mapped to the same instance, even though the name differs. One could now also add a name (or any other unused, but distinctive parameter to the constructor) to make this problem go away. But I would consider this approach unclean. For instance, A = ("A", 10); B = ("B", 10); def __init__(self, _, value): ....

A: You can make the CONSTANTS dict thing less verbose by using globals() to copy the dict contents into global variables:
CONSTANTS = {"A": 10, "B": 20}
globals().update(CONSTANTS)

print(B)  # prints 20

A: Have you considered using the namedtuple collection?
from collections import namedtuple

IntConst = namedtuple('IntConst', ['name', 'value'])

A = IntConst('A',10)
B = IntConst('B',20)

They meet your "Normal Access" by field....
A.value + B.value

They won't complain when multiple IntConst have the same value...
A = IntConst('A',10)
B = IntConst('B',10)

They will give an associated string ...
A.name

They will allow listing ...
CONSTANTS = list()
CONSTANTS.extend([A,B])
[v.name for v in CONSTANTS]

Your IDE probably already has support for namedtuple. Adding more constants simply requires you to create an instance of the IntConst namedtuple. As for importing, you'd simply create a list of those IntConst values in your namespace and they'd become valid targets for the import statement.
The only thing they don't give that you requested is the ability to duck type an integer value out of them. Instead, you'll get a tuple containing both IntConst instances.
>>> A+B
('A', 10, 'B', 10)

A: Disclaimer: Accessing a hidden attribute is discouraged and should thus not be considered a 'clean' solution!
The standard Enum module can be tweaked to provide the desired behavior.
import enum

class Const1(enum.Enum):
    A = 42
    B = 42

    def __init__(self, size):
        self._value_ = (self.name, size)
        self.size = size

class Const2(enum.IntEnum):
    A = 42
    B = 42

    def __init__(self, size):
        enum.IntEnum.__init__(self)
        self._value_ = (self.name, size)

Padding the _value_ attribute with the name of the member, renders the alias lookup mechanism unable to find other members with the same value. The only drawback is that the value attribute of the produced members all refer to their internal _value_ attribute. In fact, value is defined as a DynamicClassAttribute. Hence, without further modifications we face: Const1.A.value == ('A', 42).
If desired, a property can be used to overwrite this behavior.
@property
def value(self):
    return self._value_[1]


text:
Agony, tears as potholes flood Lagos roads again
21 Sep 2018 Travel
The recent downpour in Lagos has reopened the potholes barely a month after repairs. BENJAMIN ALADE and CHIBUZOR NWANERI write on how the poor quality of palliatives rendered by the state and its contractors, have become a nightmare for commuters and residents in the commercial nerve centre. It was a lockdown like never before. The…
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Nigerian President Muhammadu Buhari has announced the appointment of former Deputy Governor of the Central Bank of Nigeria, Tunde Lemo, as the new Chairman of the Federal Emergency Road Maintenance Agency. The president also appointed a new managing director and six members of the board of FERMA. Senate president Bukola Saraki, Thursday at the plenary…
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Ortom urges rehabilitation of federal roads in Benue
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Governor Samuel Ortom of Benue State has asked the Federal Government to repair all federal roads in the state.
FERMA engages 800 youths
3 Apr 2018 Appointments
The Federal Road Maintenance Agency (FERMA), in Kebbi, has engaged over 800 unemployed youths in the Vegetation and Silt Control programme in an attempt to maintain roads and reduce road crashes in the state.
Kebbi FERMA engages 800 youths on vegetation
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The Federal Road Maintenance Agency (FERMA) in Kebbi State has engaged 800 unemployed youths in the vegetation and silt control programme, in an attempt to maintain roads and reduce road crashes in the state.
FERMA official on trial for awarding contract to own firm
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An Official of the Federal Roads Maintenance Agency (FERMA), Mr. Anthony Odoma, has been arraigned for allegedly awarding contract to his firm.
Just after one rain suffering continues on Lagos/Abeokuta Expressway
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For the fourth consecutive year, provision for the reconstruction of the Lagos-Sango Ota-Abeokuta Dual Carriageway is conspicuously missing from the Federal Government's yearly priority list.
FERMA rehabilitates Yenagoa-Oloibiri road
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Minister of Power, Works and Housing, Babatunde Fashola, yesterday faulted on-going moves to set aside one per cent of the consolidated revenue fund to the Federal Road Maintenance Agency (FERMA) to repair roads in the country.


text:
#2654: Willa Cather to George M. Stimson, August 31 [1932]
GS ⬩W⬩S⬩C⬩ August 31st Dear Mr. Stimson1;
While3 I asked Mr. Flower4 to follow your make-up exactly in this book5, I was more concerned about the spacing and arrangement on the page than about the binding. I was also hopeful that he would copy your jacket, as his jacket for6 "Shadows"7 was very bad.
When his dummy8 reaches you, I think you had better pass on the binding yourself, and cable him your verdict. The mails are so slow in coming here2 that, to get my opinion, he might hold the book up for sometime. My friends9 write me that the Paris10 booksellers are counting on it for the middle of September.
Please call up Mr. Novak11, the Czech Consul General, at 1440 Broadway, and ask him if he has sent a copy of the new book to President Masaryk12? If he has not, will you please send a copy to his office, to be sent over in the consular mail bag.
I probably will not be here after September 10th, but will let you know my next address. Isn't the book doing very well13, for such a short one.? I keep receiving congratulations from my friends on the make-up! We must have done a [illegible] good job!
FaithfullyWilla Cather
Please have a copy of "Destinies" sent to the following persons:
Mme. Earl Brewster14 Saint-Cyr-sur-Mer15 Ver, France
Miss Elsie Cather16 Red Cloud17 Nebraska
Mrs. J. D. Cather18 106 East 27th street Kearney19, Nebraska
Myra Hess20 8 Carleton Hill St. John's Wood London21, England
(And please have one sent to Rebecca West.22 I do not know her address.)
Mr. John E. Cather23 Smethport24 Pennsylvania
Document is two leaves, typewritten on recto of each leaf only.
George M. Stimson1
August 31 [1932]
The year of this letter is established by corresponding letters from Alfred A. Knopf, Inc., staff.
Grand Manan, New Brunswick, Canada2
Cather-Knopf Correspondence, The Dobkin Family Collection of Feminism, New York, NY
On 26 August 1932, Stimson wrote Cather about Flower's response to the request that Cassell, British publisher of Obscure Destinies, follow Knopf's edition closely. In particular, Flower objected that he could not follow the binding of Knopf's edition because he did not have a published copy.
Cassell published the British edition of Shadows on the Rock in January 1932.
A mockup or sample of a book a publisher used for design and marketing purposes. A dummy typically included a draft cover and a small number of printed pages of the text, the rest of the volume being filled out with blank paper.
These unnamed friends might be Jan and Isabelle Hambourg, who lived outside Paris.
On 27 August 1932, Alfred Knopf reported that Obscure Destinies had sold 27,000 copies.
Stimson, George Mirick (1882-1950). Printer employed at Alfred A. Knopf, Inc. Born in Ponta Delgada in the Azores to an American father and an English mother, by 1916 George Stimson was working as a printer at the Riverside Press of the Houghton Mifflin Co. In the late 1920s, he worked in the production department of Alfred A. Knopf, Inc., and Willa Cather corresponded with him about design and printing issues. By 1942 he had left Knopf for the Macmillan Co.
Flower, Walter Newman (1879-1954). British publisher and writer. Newman Flower, as he was usually known, was born and educated in Dorset, England. He began working in publishing when he was seventeen and joined the British publisher Cassell in 1906. He took charge of its book publishing division in 1912 and bought the company in 1927. Cather corresponded with Flower after Cassell began publishing the British editions of her books in 1932; the company also took over The Song of the Lark from the earlier British publishers, John Murray and Jonathan Cape.
Novák, Jaroslav (1884-1942). Czechoslovakian diplomat. Born in Kozušany, Moravia, Dr. Jaroslav Novák attended the Charles-Ferdinand University of Prague, teaching at the Žižkov and Ceska Trebova labs. In 1919 he represented Czechoslovakia at the Paris Peace Conference. From 1925-1933 Novák served in New York as Consul General of Czechoslovakia. He then worked for the Ministry of Foreign Affairs, serving as the first envoy of Czechoslovakia to Venezuela. Novák died in exile during the German occupation of Czechoslovakia. On 19 December 1930 he wrote Cather to thank her for "all the creative work which you have done" and offered to send her the book Romantic Czechoslovakia (1930).
Masaryk, Tomáš (1850-1937). Founder and first president of Czechoslovakia. Born in Moravia, which was then part of the Austrian Empire, Tomáš Masaryk received a doctorate from the University of Vienna in 1876. Studying in Leipzig, he met and then married American music student Charlotte Garrigue in 1878. Appointed professor of philosophy at the Czech University of Prague in 1882, he used his academic writings to promote the value of Czech culture. When he entered politics in the 1890s, he took up the cause of the Slovaks in northern Hungary. A key figure in the Czech-Slovak Union, he was elected Czechoslovakia's first president in 1918. He resigned the presidency in 1935. Cather began corresponding with Masaryk in 1925 after he sent her a letter. She professed she was "glad" that her novel My Ántonia (1918) had "carried a message from [her] Bohemian neighbors" that she "loved as a child, to their home country" (#0768).
Barlow-Brewster, Achsah (1878-1945). Expatriate American painter. Born in New Haven, CT, Achsah Brewster graduated in 1902 from Smith College, where Edith Lewis had become her roommate in 1899, inaugurating a long friendship. After college, Achsah moved to New York City to study painting at the Art Students League and the New York School of Art, where fellow student (and later poet) Vachel Lindsay introduced her to Earl Brewster. She may have met Willa Cather as early as 1904, when Cather, visiting New York from Pittsburgh, stayed with Edith Lewis on Washington Square. In 1910, she and Earl Brewster married and moved to Europe, returning to the U.S. only once, in 1923. From 1910 through 1935, they lived in various locations in France (where their daughter Harwood was born in 1912) and in Italy (where they met D. H. Lawrence and his wife Frieda in 1921), while also traveling widely in Europe and to Ceylon (Sri Lanka) and India. Edith Lewis visited Achsah and Earl in Ravello, Italy, in 1914 and 1920 and in Cyr-sur-Mer, France, in 1930 (with Cather) and 1935. During her long trip to France in 1923, Cather introduced Achsah and Earl to Isabelle McClung Hambourg and Jan Hambourg. In 1935, Achsah and Earl moved to the Himalayan region of India, where she died ten years later after a long illness.
Cather, Ethel Garber (1889-1975). Cather's sister-in-law. Ethel was the daughter of Edwin S. Garber and through him was related to Governor Silas Garber, the model for Captain Forrester in A Lost Lady (1923). Ethel graduated from the University of Nebraska in Lincoln in 1909 and married James Cather in 1913. The couple had two children, Helen Louise and Charles Edwin. The family moved to California in 1930. Ethel and Willa Cather were not close.
Hess, Myra (1890-1965). British pianist. Born to a Jewish family in London, England, Myra Hess began playing piano as a young child, studying at the Royal Academy of Music. In 1907 she made her debut, then toured in Britain and Europe. She made her American debut in 1922, becoming popular as a soloist and in ensembles. Cather became acquainted with her through her publishers, Alfred and Blanche Knopf. Myra Hess was made a Commander of the Order of the British Empire in 1936 and Dame Commander in 1941. During World War II, when bombings and curfews made evening concerts impossible, Hess organized thousands of weekday lunch-time concerts by eminent musicians.
West, Rebecca (1892-1983). British novelist, journalist, and critic. Born in Kerry, Ireland, to a Scotch mother and Anglo-Irish father, Cicely Isabel Fairfield trained in London as an actress, where she took the name Rebecca West from the heroine of Henrik Ibsen's play Rosmerhsholm (1886). As a journalist writing for the Freewoman and the Clarion West promoted women's suffrage and socialist causes and argued against British imperialism. She also became a powerful literary critic, writing reviews for both British and American periodicals. and an important modernist fiction writer. Her first novel, The Return of the Soldier (1918), explored the effect of the trauma of World War I from the perspective of the sister of a combat veteran. Her Black Lamb and Grey Falcon (1941) is considered a masterpiece of British travel writing. In her later life, West abandoned her early radicalism and was created a Dame Commander of the British Empire in 1959. Cather had met West by early 1927, and later that year West positively reviewed Death Comes for the Archbishop (1927) for the New York Herald Tribune Books. Cather continued to cultivate West as a critic, ensuring that she got copies of her books, leading to West's positive review of Shadows on the Rock (1931).
Cather, John (1892-1959) ("Jack"). Cather's brother. Born and raised in Red Cloud, NE, Jack was the seventh child and fourth son of Charles and Virginia Cather. He was nearly two decades younger than Willa Cather, and she was a doting older sister when he was a small boy. Because she missed him after her 1896 move to Pittsburgh, PA, she wrote several poems about him and the story "Jack-a-Boy" (1901). After graduating from Red Cloud High School in 1912, Jack studied for two years at University of Nebraska in Lincoln. With Willa Cather's encouragement, in 1914 he enrolled at the Carnegie Institute of Technology in Pittsburgh to study engineering. Willa Cather was then living in New York City but traveled to Pittsburgh to help him settle in and enjoyed visiting him and supported his decision to change his major to theater. It is not clear whether he graduated from Carnegie Tech but the British government trained him as a chemist so he could inspect munitions factories. While working in Smethport, PA, he met Irma Wells, and they married in 1918. They had two children, Catherine and Ella Faye. After World War I, he worked as a chemical engineer in the oil industry in Cincinnati, OH, Casper, WY, and Bradford, PA. In 1936 he moved to Whittier, CA, and became a business partner with his brothers Douglass and James in an oil production company. He died in Long Beach, CA. Willa Cather mentions him frequently in letters, but she seems to have had little contact with him and his family in later years, and no letters from her to him have surfaced.
Saint Cyr-sur-Mer, Provence-Alpes-Côte d'Azur, France
Kearney, Nebraska, United States
London, Greater London, England
Smethport, Pennsylvania, United States
Work Annotations
Obscure Destinies (1932) by Willa Cather
Shadows on the Rock (1931) by Willa Cather


POSITION SUMMARY: Responsible for delivering an exceptional guest experience by consistently providing excellent service, great tasting/quality food, and a clean restaurant environment for all guests by performing one or more workstations in accordance with JIB procedures, systems, and standards, and 20/20 guest expectations.
Experience - Guest service or food cook/preparation experience helpful; comfort working in a high volume, fast-paced restaurant environment. Knowledge/Skills/Abilities - Must be at least 16 years old. Understands and communicates clearly in English, may require ability to speak another language based on location of restaurant. Ability to read and understand written English, perform basic math (add, subtract, multiply); perform multiple tasks at once; and work effectively in a team environment.
REASONABLE ACCOMMODATION: Jack in the Box, Inc. and its affiliates will make reasonable accommodations to allow a qualified individual with a disability to enjoy equal employment opportunities and to perform the essential functions of the job. This position description should be applied accordingly.


Hanna will be released one week after Michael's visit. During that time, he finds and rents a furnished apartment where Hanna will be able to live. He locates a job for her, and takes care of many of the small aspects that are necessary for a prisoner when leaving prison. He performs the actions mechanically with a feeling of resigned duty. He calls the warden and discusses the future. He then talks to Hanna and asks her how she would like to handle the release and relocation. Hanna jokingly tells Michael to plan it all out because, she says, he likes to plan things. Her lighthearted attitude and comments angers Michael, and he curtly ends their conversation. Michael notices that her voice, over the telephone, sounds the same as it did many decades ago.


text:
Piscidia piscipula är en ärtväxtart som först beskrevs av Carl von Linné, och fick sitt nu gällande namn av Charles Sprague Sargent. Piscidia piscipula ingår i släktet Piscidia och familjen ärtväxter. Inga underarter finns listade i Catalogue of Life.

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redpajama_set_name: RedPajamaWikipedia


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How much is a session? Are discounts offered?
How did BodyTalk start? How long has it been around?
What is a BodyTalk Session like? How long is a session?


text:
Tunisian History
Tunisia - The Past - Tunisian
Thread starter Essem
Essem
Tunisia - The Past
Nationalism was growing.
Bourguiba now acknowledged leader of the Destour Party, was forced to seek asylum, first in Egypt.
The next decade was to see him alternately overseas and under arrest.
As his influence, even from prison, succeeded in conciliating official thinking in Paris, so the intransigence of Tunisia's French colony increased.
Things had reached extremes when Bourguiba was permitted to return.
His arrival at La Goulette on 1st June 1956 is celebrated annually as Victory Day, although it was not until the following year that Bourguiba seized the opportunity of a governement change in France to negotiate independence.
Since the 1960's not only France again, but the USA, the UN, the World Bank, Germany, the Communist bloc and the Arab Oil states have all stepped in with aid to Tunisia.
Proclaimed on 25th July 1957, the new republic floundered through the first four years, meeting with French resistance.
But for all that, Bourguiba increased his prestige internationally as the only head of a deceloping state to say 'boo' to De Gaulle, and to Nasser.
Tunisia, a republic and idependent, was then goverened by President Zine Abidine Ben Ali. A former general, ambassador and prime minister, he succeeded Tunisia's first President, Habib Bourguiba, in a peaceful and constitutional deposition on 7th November 1987.
The republic is divided into 24 'governorats' in which a governeur or wali is the president's right-hand man.


I like to wear things that are fitted and structured but interesting and funky.
On Lokation at 14th and U streets in DC. It's not a traditional boutique—it's open only Thursday through Saturday. I love vintage stores like Annie Creamcheese in Georgetown, Remix on Capitol Hill, and Diva in Old Town. I also go to MNG by Mango in Tysons Corner Center—it's like Zara, but the clothes are more curve-conscious.
Not much. I'm willing to splurge on a nice pair of jeans. It's the price-per-wear factor. Joe's Jeans is a label all women should look at.
I love the high-waisted trend. It is very flattering for girls with curves. I have a Trina Turk skirt with a cummerbund waist that looks terrific. I also love my vintage pink coat. I found it in a store on the Outer Banks in North Carolina.
I have been known to make weekend runs to 14U Cafe wearing clothing that may resemble a velour tracksuit.
People focus too much on trends. Chanel said it best, "Fashion passes; style remains." Also: If you can't stop thinking about it, you should own it.


Go to our IG page. Now! Yep. Our very first SoniqStars contest! And we think we nailed it. Here's why!
As you may, or may not know, at first, we decided to test our Soniq Stars contest idea on Discord. This, as it turns out (and as we've clearly stated here), was a dumb idea. We aren't afraid to admit this, because at the foundation of every successful business lies a graveyard of stupid, stupid, stupid ideas. Why? Because stupid ideas are the firmest material out there for a proverbial foundation — a concrete proof of what HASN'T worked.
We've also publicly and transparently stated that we decided to move the whole Discord contest idea to Instagram. And we did! We've been busy doing it for the entirety of the past December and during the twilight month of 2018, we've learned so, so much. But first of all, we found out that the Instagram contest idea was nothing short of a major success, and we're definitely not ashamed to say so, with almost 250 contestants to back this up.
We created the @soniqstars IG page mid- to late-November and managed to pull around 240 contestants in about a month. More than 300 contestants applied! We're not talking followers here, we're talking people who were ready to join our contest. And who have done so!
But how did we do this? Like any other now-successful company — by hand!
Blood, sweat and tears were spilled. I, personally (although my team was of tremendous help here), was busy contacting potential contestants via Instagram. I'd search a singing-related hashtag (such as #singing), listen to people singing on their IG posts and send personalized comments to each and every one of them.
I'm talking unique comments that spoke about exactly what caught my eye (or ear, in this case) with every particular potential contestant. As an active musician, I know what quality and skill mean and have made sure that my, well, let's call them "leads", were made aware that I wasn't some Instagram bot spamming random messages to everyone, but a living person, who genuinely likes what they hear!
By hand, I've personally contacted north of 1,000 musicians on Instagram! This, again, might not seem like that big of a deal, but when you take into account the fact that every single comment was personalized and preceded by watching every single one of these videos start-to-finish, that adds up to a lot of hours.
Why am I bragging? Well, because I'm awesome, really. But more importantly, because this is the exact culture we nurture here at Soniq. As a community manager, I'm well-aware of the fact that I represent the face of Soniq, and a face representing a team with so much potential and love for music needs to show readiness to grind and grind and grind for hours and days and weeks, in addition to being, ya know, pretty.
related singing contest in a single month is a lot! The music community doesn't really trust the crypto world yet and we've managed to convince them otherwise through sheer tenacity, honesty, transparency and willpower.
This, is another important mission that Soniq aims toaccomplish.
Additionally, out of approximately (but more than) 1,000 musicians contacted, almost 250 have actually joined the contest. This is a ~25% turnover! This is nothing short of impressive.
24o singers, 200,000 video views, 100,000 people reached. Amazing stuff, really!
this contest has brought us exposure. More exposure for us means more exposure for the musicians. The one thing that we've learned from our first IG contest is that getting paid isn't the only problem the musicians face — getting exposure is just as important and heavily intertwined here.
Also, keep in mind that these 240 contestants were singers, exclusively. We felt like the broadest musical instrument that are the vocal cords would work best for our contest. Now imagine how many guitarists, bassists, drummers, etc. there are out there!
Was the contest a success?
Although it has brought us valuable exposure and helped us push the SONIQ volume and price a bit forward, there is a more important, lowkey benefit here. Our contestants were open about accepting their SONIQ rewards. The main goal of this IG contest was testing the business model for our upcoming first product — the Soniq Stars Contest app.
Seeing as how the musicians that participated in our contest clearly trust us, the test results were successful — musicians are more than happy with participating in a music crypto contest.
What's next? Well, the two remaining groups that require testing are the Judges and Sponsors. Stay tuned and check out our SoniqStars IG page!
Decentralized platform that provides solutions for musicians world-wide.


Kate was born and raised in Cerro, NM, went to school in Cerro, then Questa High School, was married at 18 and soon after became a mother of two children. She worked as a cashier for much of her life and then went into cooking, which she loves. She takes seriously her responsibilities as a mother and with her volunteer work in her community. At the time of the interview, she was the co-director of the North Central NM Food Pantry.


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text:
Latin American Anti-racism in a 'Post-Racial' Age - LAPORA
Principal Investigators overview
Co-Investigators overview
Postdoctoral Researchers overview
Research Assistants overview
International Adviser
The Network of Communities and Movements Against Violence
Association of Afro-Colombian Women (AMAFROCOL)
Civic Strike in Buenaventura
John Jak Becerra: Discrimination in the Workplace
The Michael Arce Case: The First Ruling on Hate Crime in Ecuador
Wimbí: A Black Community Under Threat
29 of Saraguro: Criminalization of Protest and State Racism
Fundación Azúcar: Promoting Afro-Ecuadorian Culture, Beauty and Women's Political Participation
Inclusion of Ethnic Minorities in Ecuador's Foreign Service
Intergenerational Social Mobility Module
CEPIADET: An Indigenous Legal Advice Centre
Miguel Agustín Pro-Juárez Centre for Human Rights
In ideologies of Colombian nationality, blackness is more important than in Mexico, but less so than in Brazil. There is a small indigenous population (3.4 percent), but, as in Brazil, it figures large in ideas about the nation and its history – and in the multiculturalist reforms that followed from constitutional reform in 1991. A powerful trope in images of the Colombian nation is the idea of internal difference, with the country often being talked of as a "country of regions", each with a supposedly particular often racialised identity. Whiteness and mestizo-ness are often associated with each other and located stereotypically in the highlands, whereas blackness is stereotypically associated with the Pacific and Caribbean lowland coastal regions; indigenousness is seen as both highland (Andean) and lowland (Amazonian) and is stereotyped as rural. In contrast to Brazil, mestizos are more likely to be assimilated to whiteness than to blackness.
Colombia has the second largest population of Afrodescendants in Latin America, after Brazil; in the 2005 census Afro-Colombians were 10.5 percent of the national total. Yet before the 1990s, when multiculturalist laws came onto the statute books, Afro-Colombian social mobilization was not well developed and, indeed, many academics and activists bemoaned the fact that Afro-Colombians were "invisible" in the eyes of the state and academic disciplines. From 1991, however, the country has built up a comprehensive array of legislation aimed at Afrodescendant peoples, covering special land titles for "black communities" (as defined by Law 70 of 1993), ethno-education programs in schools, university places reserved for candidates from black communities, representation on committees and decision-making bodies at various levels of the state, a special Directorate of Black Community Affairs, and two seats in the Chamber of Representatives of the Congress reserved for candidates representing black communities. Indigenous communities (3.4 percent of the national total in the 2005 census) have had a longer history of attention from the state, but legal provision for them has also consolidated after 1991: legislation has now resulted in about 30% of the national territory being placed into indigenous reserves, which also receive fiscal transfers from the state. Reforms have also put indigenous senators into Congress and indigenous students into university places with funding reserved for indigenous applicants.
These policies directed at rights for indigenous and black minorities are beginning to open up increasing space for actions against racism, in some cases sponsored by the state and NGOs (e.g. the 2009 National Campaign Against Racism, supported by the Vice-President, or the NGO Chao! Racismo); there is an Observatory of Racial Discrimination and the numerous organisations in the black and indigenous social movements address issues of racism to varying degrees. The focus here is largely on Afro-Colombians and anti-black racism. In Colombia, the idea of anti-indigenous racism still has little traction – less than in Ecuador, but arguably more than in Brazil, probably because of the larger and more active indigenous social movement.
Worryingly, exclusion of racialized minorities now operates more than ever through violence and displacement. Violence has certainly targeted such minorities in the past: black and indigenous groups were caught up in the cross-fire of state, guerrilla and paramilitary violence before the 1991 reforms. However, one anthropologist characterized areas of the Pacific coastal region as a "haven of peace" before the early 1990s, relatively immune from the conflicts wracking central areas of the country, and able to resolve local disagreements without resorting to violence. From the 1990s, however, violence spread into the Caribbean coastal region, where significant black and indigenous populations live. In particular, violence has spread into the Pacific coastal region, with its predominant Afro-Colombian population and with significant indigenous populations too. The region became a target for guerrilla activity and soon after for military incursions. Paramilitary forces, using tactics of terror and coercion, displaced large numbers of people – severely undermining many of the newly-gained collective land titles. The Consultancy on Human Rights and Displacement (Consultoría para los Derechos Humanos y el Desplazamiento, CODHES) estimates 4.1 million Colombians were forced from their homes between 1999 and 2012. Of these people, it was estimated in 2009 that 24% belonged to some ethnic group, with 17% being Afro-Colombians and 6.5% indigenous.
Read more at: LAPORA Policy Briefing
LAPORA on YouTube
LAPORA on Facebook
LAPORA
The Department of Sociology
Free School Lane
CB2 3RQ
Tel: 01223 (3)34520
Fax: 01223 (3)34550


text:
"""Helper library for sharding during TPU compilation."""

from __future__ import absolute_import
from __future__ import division
from __future__ import print_function

from six.moves import xrange  # pylint: disable=redefined-builtin

from tensorflow.python.framework import tensor_shape

_DEFAULT_NUMBER_OF_SHARDS = 1
_DEFAULT_SHARD_DIMENSION = 0

# TODO(b/36777903) change other parts of tpu.py to use this class.
class ShardingPolicy(object):
  """An object use to hold the sharding policy for a Tensor.
  """

  def __init__(self):
    self._number_of_shards = None
    self._shard_dimension = None
    self._frozen = False

  def __str__(self):
    if self.number_of_shards is None or self.shard_dimension is None:
      return "ShardingPolicy(unset)"
    else:
      return ("ShardingPolicy(%d shards dimension %d)" %
              (self.number_of_shards, self.shard_dimension))

  def _fill_default_values(self):
    if self._number_of_shards is None:
      self._number_of_shards = _DEFAULT_NUMBER_OF_SHARDS
    if self._shard_dimension is None:
      self._shard_dimension = tensor_shape.as_dimension(
          _DEFAULT_SHARD_DIMENSION)

  def freeze(self):
    """Prevents further modification to the sharding policy.

    Any values that have not been set when freeze is called are set to
    defaults. If the ShardingPolicy is already frozen, this is a NoOp.
    """
    if not self._frozen:
      self._fill_default_values()
      self._frozen = True

  @property
  def number_of_shards(self):
    """Returns the number of shards in the policy or None if unspecified."""
    return self._number_of_shards

  def set_number_of_shards(self, number_of_shards):
    """Sets the number of shards for the current policy.

    If the policy has been frozen then number_of_shards must match the
    existing setting.

    Args:
      number_of_shards: The number of shards to use in the policy.

    Raises:
      ValueError: If the policy has been frozen and number_of_shards
        differs from the frozen value; or number_of_shards <= 0.
    """
    if self._frozen:
      if self._number_of_shards != number_of_shards:
        raise ValueError(
            "Can't set sharding policy to use %d shards since it has been "
            "frozen to use %d." % (number_of_shards, self._number_of_shards))
    else:
      if number_of_shards > 0:
        self._number_of_shards = number_of_shards
      else:
        raise ValueError(
            "Can't set sharding policy to use %s shards; value must be >0",
            str(number_of_shards))

  @property
  def shard_dimension(self):
    """Returns the shard dimension of the policy or None if unspecified."""
    return self._shard_dimension

  def set_shard_dimension(self, shard_dimension):
    """Sets the shard dimension for the current policy.

    If the policy has been frozen then shard_dimension must match the
    existing setting.

    Args:
      shard_dimension: The shard dimension to use in the policy.

    Raises:
      ValueError: If the policy has been frozen and shard_dimension
        differs from the frozen value, or shard_dimension can't be
        interpreted as a Dimension.
    """
    if self._frozen:
      if self._shard_dimension != shard_dimension:
        raise ValueError(
            "Can't set shard dimension to %d since it has been frozen to "
            "use %d." % (shard_dimension, self._shard_dimension))
    else:
      self._shard_dimension = tensor_shape.as_dimension(shard_dimension)

  def merge(self, other):
    """Merges the policy of another policy into the current policy.

    Args:
      other: The policy to merge into this one.

    Raises:
      ValueError: If this policy has been frozen and the merge conflicts with
      the frozen policy.
    """
    if other.number_of_shards is not None:
      self.set_number_of_shards(other.number_of_shards)
    if other.shard_dimension is not None:
      self.set_shard_dimension(other.shard_dimension)

  def get_sharded_shape(self, shape, shard_index=None):
    """Returns the shape of a shard of a full Tensor.

    When given the shape of a 'full-size' Tensor, returns the shape of
    the sub-Tensor after it has been sharded. Freezes the policy if it
    has not yet been frozen.

    Args:
      shape: The shape of the full-size Tensor to be sharded.
      shard_index: The index of the shard whose shape should be returned.
        shard_index can be None for sharding policies that use the same
        shape for every shard.
      freeze_config:

    Returns:
      The shape of the sharded version of the Tensor.

    Raises:
      ValueError: If shard_index is None when shards are of different
        shapes; or shard_index is not None and
        !(0<=shard_index<number_of_shards); or shape does not have at
        least self.shard_dimension+1 dimensions; or the value of
        shape's shard dimension is not a multiple of
        self.number_of_shards
    """
    if self._shard_dimension is None or self._number_of_shards is None:
      # Don't raise an error if the config is unset.
      return None
    if shard_index is not None:
      if shard_index < 0 or shard_index >= self.number_of_shards:
        raise ValueError("shard_index %d, but must be in [0,%d)." %
                         (shard_index, self._number_of_shards))
    shape = tensor_shape.as_shape(shape)
    if self._number_of_shards == 1:
      # Don't do anything when there's only one shard.
      return shape
    ndims = shape.ndims
    if ndims is None:
      raise ValueError("shape must be a specified shape not Unknown")
    if ndims <= self._shard_dimension:
      raise ValueError("shape %s does not contain shard_dimension %d" %
                       (shape.as_list(), self._shard_dimension))
    dims = shape.as_list()
    if (dims[self._shard_dimension] % self._number_of_shards) != 0:
      raise ValueError("shape %s cannot be sharded %d ways along dimension %d" %
                       (shape.as_list(), self._number_of_shards,
                        self._shard_dimension))
    dims[self._shard_dimension] /= self._number_of_shards
    return tensor_shape.as_shape(dims)

  def _unshard_shape(self, shape):
    """Return the unsharded shape that would generate a given sharded shape.

    Args:
      shape: the sharded shape to unshard

    Returns:
      The unsharded shape.

    Raises:
      ValueError: if shape is unknown or does not contain
        self.shard_dimension
      TypeError: if shape is not convertible to a TensorShape
    """
    shape = tensor_shape.as_shape(shape)
    if self._number_of_shards == 1:
      # Don't do anything when there's only one shard.
      return shape
    ndims = shape.ndims
    if ndims is None:
      raise ValueError("shape must be a specified shape not Unknown")
    if ndims <= self._shard_dimension:
      raise ValueError("shape %s does not contain shard_dimension %d" %
                       (shape.as_list(), self._shard_dimension))
    dims = shape.as_list()
    dims[self._shard_dimension] *= self._number_of_shards
    return tensor_shape.as_shape(dims)

  def get_unsharded_shape(self, shapes):
    """Returns the shape of an unsharded Tensor given a list of shards.

    When given a list of shapes of shards, returns the shape of the
    unsharded Tensor that would generate the shards. Sets defaults for the
    policy if number_of_shards or shard_dimension is None.

    Args:
      shapes: The shapes of the Tensor shards to be combined.

    Returns:
      The shape of the unsharded version of the Tensor.

    Raises:
      ValueError: if shapes is not a list of length
        self.number_of_shards; or any element of shapes is not a valid
        shape consistent with the sharding policy; or the list of
        shapes is not a valid sharding of a full shape.
      TypeError: if an element of shapes is not convertible to a
        TensorShape
    """
    self._fill_default_values()
    if len(shapes) != self.number_of_shards:
      raise ValueError(
          "shapes is %s but must be a list of length number_of_shards=%d" % (
              str(shapes), self.number_of_shards))
    unsharded_shapes = [self._unshard_shape(s) for s in shapes]
    for i in xrange(self.number_of_shards - 1):
      if unsharded_shapes[i] != unsharded_shapes[self.number_of_shards - 1]:
        raise ValueError(
            "sharded shapes %s are not consistent shards of a full shape "
            "sharded %d ways along dimension %d" % (
                str(shapes), self.number_of_shards, self.shard_dimension))
    return unsharded_shapes[0]


hello there! hope you're having a great afternoon where ever you are! out here on the range its rain soaked! great for the garden and those recently planted maple and oak trees.
for summer solstice we had ourselves a small crew assembled and a short ritual while the sun rose over the tree line. i didn't have my camera handy so i didn't get any pictures but at the end of the day!!! wow!!! we had ourselves a rainbow and folks it was a beauty. i did get pictures of that and will share one of them with you right here!
perfect weather for a festival! it was hot and dry with big blue skies and nothing but sunshine the entire time we were there. spent most of the 3 days on site sporting bare feet! very nice! and enjoyed a cup or two of "wild chaga" tea!
left a few recent paintings behind, sketches really, and its always nice to see folks walking away with a piece of artwork. we've been doing a lot of art work and art related events this month starting with the show opening at the Ojibwe Cultural Foundation here on the island, 2 events over there, plus a weekend stint at the Sucker Creek pow wow in early June, and a short session with the kids up there at Sheshegwaning! so we are keeping our paints and brushes busy, squeezing those activities in with some serious gardening and lawn care time.
the lawn is big folks. a couple or more acres worth and about 8 hours of cutting time… the maple trees i planted are coming along nicely, and the oak i put in last week seems to be dug in, ready for the long haul. in the garden we're seeing the corn popping up! tomatoes too! i think August out here on the range is really going to be colourful with those characters on our landscape.
well the gals are waking up! time to get busy with getting the youngest one ready for school, 8 days remaining before summer holidays and man we need to be careful because before we know it, we'll be saying 8 days remaining before school starts up!